Interpreting Kierkegaard in the general context of Golden Age Denmark, this interdisciplinary anthology features articles which treat his various relations to his most famous Danish contemporaries. It aims to see them not as minor figures laboring in Kierkegaard's shadow but rather as significant thinkers and artists in their own right. The articles illuminate both Kierkegaard's influence on his contemporaries and their varied influences on him. By means of the analyses of these various relations, aspects of Kierkegaard's authorship are brought into new and insightful perspectives. The featured essays treat some of the most important figures from the time, representing the fields of philosophy, theology, literature, criticism and art.

The Christian life, concerned with both spirituality and doctrine, aims not at rationally defensible truth but at life-transforming love. Greater understanding of the truth will not settle the restlessness in a human spirit; only the redemptive power of relationship with God can calm the soul. The crux of Kierkegaard's presentation of Christianity is not that doctrine is unimportant, but that it is ultimately insufficient for a life lived in relationship with God. In Contemporary with Christ, Joshua Cockayne explores the Christian spiritual life with Søren Kierkegaard (in the guise of his various pseudonyms) as his guide and analytic theology as his key tool of engagement. Cockayne contends that the Christian life is second-personal: it seeks encounter with a personal God. As Kierkegaard describes, God invites us to live on the most intimate terms with God. Cockayne argues that this vision of Christian spirituality is deeply practical because it advocates for a certain way of acting and existing. This approach to the Christian life moves from first-reflection, whereby one acquires objective knowledge, to second-reflection, whereby one attains deeper self-understanding, which fortifies one's relationship with God. Individuals encounter Christ through traditional practices: prayer, the Eucharist, and the reading of Scripture. However, experiences of suffering and mortality that mirror Christ's own passion also enliven this life of encounter. Spiritual progress comes through a reorientation of one's will, desire, and self-knowledge. Such progress must ultimately serve the goal of drawing close to God through Christ's presence. Engaging philosophy, theology, and psychology, Cockayne invites us to join in a conversation with Kierkegaard and explore how the spiritual disciplines provide opportunities for relationship with God by becoming contemporary with Christ. --C. Stephen Evans, University Professor of Philosophy and Humanities, Baylor University

This first tome treats the German philosophical influences on Kierkegaard. The dependence of Danish philosophy on German philosophy is beyond question. In a book review in his Hegelian journal Perseus, the poet, playwright and critic, Johan Ludvig Heiberg (1791-1869) laments the sad state of philosophy in Denmark, while lauding German speculative philosophy. Moreover, Kierkegaard's lifelong enemy, the theologian Hans Lassen Martensen (1808-84) claims without exaggeration that the Danish systems of philosophy can be regarded as the disjecta membra of earlier German systems. All of the major German idealist philosophers made an impact in Denmark: Kant, Fichte, Schelling, and most significantly, Hegel. Kierkegaard was widely read in the German philosophical literature, which he made use of in countless ways throughout his authorship.

Often viewed by his contemporaries as a person who deliberately cultivated an air of mystery and eccentricity, Soren Kierkegaard (1813-1855) has continued to be a subject of great speculation. Here historian Bruce Kirmmse provides a collection of every known eyewitness account of the great Danish thinker. These accounts give us a glimpse of Kierkegaard's spiritual and intellectual development, along with other aspects of his life. 21 photos.

Søren Kierkegaard: Subjectivity, Irony, and the Crisis of Modernity examines the thought of Søren Kierkegaard, a unique figure, who has freeired, provoked, fascinated, and irritated people ever since he walked the streets of Copenhagen. At the end of his life, Kierkegaard said that the only model he had for his work was the Greek philosopher Socrates. This work takes this statement as its point of departure. Jon Stewart explores what Kierkegaard meant by this and to show how different aspects of his writing and argumentative strategy can be traced back to Socrates. The main focus is The Concept of Irony, which is a key text at the beginning of Kierkegaard's literary career. Although it was an early work, it nevertheless played a determining role in his later development and writings. Indeed, it can be said that it laid the groundwork for much of what would appear in his later famous books such as Either/Or and Fear and Trembling.

This third tome is dedicated to the German literary sources that were significant for Kierkegaard; in particular the work of authors from German Classicism and Romanticism. Important forerunners for many of Kierkegaard's literary motifs and characters can be found in the German literature of the day. His use of pseudonyms and his interest in irony were both profoundly influenced by German Romanticism. This volume demonstrates the extent to which Kierkegaard's views of criticism and aesthetics were decisively shaped by the work of German authors.

In this volume fifteen eminent scholars illuminate the broad and often underappreciated variety of the nineteenth‐century Danish thinker Søren Kierkegaard’s engagements with literature and the arts. The essays in Kierkegaard, Literature, and the Arts, contextualized with an insightful introduction by Eric Ziolkowski, explore Kierkegaard’s relationship to literature (poetry, prose, and storytelling), the performing arts (theater, music, opera, and dance), and the visual arts, including film. The collection is rounded out with a comparative section that considers Kierkegaard in juxtaposition with a romantic poet (William Blake), a modern composer (Arnold Schoenberg), and a contemporary singer‐songwriter (Bob Dylan). Kierkegaard was as much an aesthetic thinker as a philosopher, and his philosophical writings are complemented by his literary and music criticism. Kierkegaard, Literature, and the Arts will offer much of interest to scholars concerned with Kierkegaard as well as teachers, performers, and readers in the various aesthetic fields discussed. CONTRIBUTORS: Christopher B. Barnett, Martijn Boven, Anne Margrete Fiskvik, Joakim Garff, Ronald M. Green, Peder Jothen, Ragni Linnet, Jamie A. Lorentzen, Edward F. Mooney, George Pattison, Nils Holger Petersen, Howard Pickett, Marcia C. Robinson, James Rovira